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sJean Eugene Robert HoudinHoudiniDavid CopperfieldDynamoFamous Illusions- Robert HoudinCareerMajor AchievementsIllusions- HoudiniChinese Water TankSuspended Stright JacketCareer- DynamoMission ImpossibleIllusions- DynamoContributors

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Statue of Robert Houdin at Blois, Region Centre,

France

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Famours IllusionSecond Sight

Perfromed in Paris

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Jean Eugene Robert-Houdin

Houdin, Jean Eugène Robert or Jean Eugène R o b e r t - H o u d i n1805–71, French conjurer and magician. Originally a clockmaker, he was celebrated for his optical illusions and mechanical devices and for his attributing his “magic” to natural instead of supernatural means. Houdin was the first to use electromagnetism for his effects

Jean Eugene Robert was bitten by the magic bug just as he was entering his family’s clockmaking business in the French town of Blois. The young man enjoyed entertaining his friends with sleight-of-hand tricks, but at first gave no thought to performing p r o f e s s i o n a l l y . At twenty-four, he married the daughter of a prominent Parisian clockmaker, soon adding their family name to his own and opening his own clockmaking studio in Paris with the backing of his father-in-law.

Houdin, the French performer widely considered the father of

modern magic.

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During these years the clockmaker made mental notes about what he would do and not do if he ever took the stage himself.

Living in the French capital allowed Robert-Houdin to more fully indulge his interest in magic, and he eagerly caught every performance he could while developing friendships with a number of amateur and professional magicians.

Particularly influential were Comte, a favorite of the French Kings and owner of his own theater, and Philippe, whose utilization of electricity would have the greatest impact on Robert-Houdin.

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Perhaps inspired by the complex mechanical devices, or automata, demonstrated by Philippe and other conjurers, Robert-Houdin started building more than clocks. In 1844, a small android he had built for the Universal Exposition was purchased by American circus impresario P.T. Barnum for the handsome price of seven thousand francs. The timing was excellent, as it allowed Robert-Houdin time to finish the pieces he was building for a magical theater he would soon open in Paris. The public was enchanted by his elegantly appointed theater at the old Palais Royal, which featured numbers clearly inspired by Phillipe but with novel twists of their own. Even in this first endeavor, Robert-Houdin displayed a gift for presentation which would set him apart. In particular, his practice of appearing in normal evening attire, rather than elaborate robes, caught on and has led many to see him as the first "modern" magician.

The routine that turned Robert-Houdin into a major attraction was not mechanical at all, but a number called "Second Sight," in which his son, blindfolded on stage, correctly identified objects held by his father in the audience. Again, Robert-Houdin cannot take credit for originating the act, which worked through an elaborate verbal code, but for improving it with consummate skill and showmanship. In this way, he resembled his future namesake: both Robert-Houdin and Houdini grew famous by adding their own genius to the work of those who came before.

It may have been this very similarity which led Houdini to turn on his legendary predecessor. In 1908 he angered many in the profession with the publication of "The Unmasking of Robert-Houdin," a scathing attack in which he called the legend "a mere pretender, a man who waxed great on the brainwork of others." Besides detailing the origins of most of his routines in an effort to set the record straight, Houdini challenged Robert-Houdin’s assertion in his celebrated memoirs that his presentational reforms represented "a complete regeneration in the art of conjuring." Houdini also assailed Robert-Houdin’s "supreme egotism" and habit of exaggerating his exploits, charges often made against Houdini himself.

Houdini’s overzealous attempt to unseat his celebrated predecessor probably had several sources. From one perspective, it can be seen as part of the lifelong war waged against his own imitators, for whom he felt nothing but contempt. It can also be seen as a manifestation of his substantial ego, and the need to elevate himself at the expense of any competitors, even those from the past. But given that the two men shared so much more than a name, perhaps it was Houdini’s way of responding -- in a way his ego and psyche would allow -- to the very criticisms so often leveled at him.

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Robert-Houdin displayed a gift for

presentation which would

set him apart.

Robert-Houdin displayed a gift for

presentation which would

set him apart.

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Disc

over

y of

Mag

ic

Robert-Houdin’s career as a great magician was limited to just eleven years. But in this time his great contribution to magic brought new dimensions to the craft as his inventiveness awarded his the title “Father of Modern Magic”.

His originality was aided by his vast knowledge of the intricacies of clockmaking; it was his understanding of complex mechanisms which led to his development of “Automata”. Not only would his “Automata” increase the range of tricks that could be performed, they would enhance the drama and showmanship of his magic

Being one of the first magicians to utilise electricity in his act, Robert-Houdin took magic onto a higher and more spectacular platform, setting himself apart from other magicians of his time.

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ScienceScience and technology very much influenced the inventions of Robert-Houdin. In his autobiography, he writes about consulting scientists and conducting experiments to figure out how to perform a particular trick.

He also kept up with recent scientific developments. Jean-Eugène Robert-Houdin was one of the first people to find a use for electromagnetism. He created a new trick called “The Light and Heavy Chest.” He invited a spectator on stage to lift the small wooden box he said he kept to store his money. His volunteer always did this easily. Then the magician commanded the box to stay where it was, so it could not be stolen. No matter how hard the volunteer tried after that, he couldn’t move it.

Hidden inside the wooden chest was a metal plate, and an electromagnet sat under the stage. When his assistant turned on the magnet, the strong attraction made it impossible to move the chest. Robert-Houdin wrote in his autobiography that at this time “the phenomena of electromagnetism were wholly unknown to the general public. I took very good care not to enlighten my audience as to this marvel of science.”

But it didn’t last. According to Robert-Houdin, “At a later period, when electromagnetism had become more generally known, I thought it advisable to make an addition to the Light and Heavy Chest in order to throw the public off the scent...”

When his audiences learned about e l e c t r o m a g n e t i s m , R o b e r t - H o u d i n totally changed his performance of the trick. He had three volunteers raise the light box off the floor using a rope and pulley system. Then he would command the box to become heavy and it would sink to the floor, raising the three men holding the rope up off the stage. In his autobiography, Robert-Houdin said that he performed this same trick in an entirely different way in 1856. The French government asked him to travel to French-occupied Algeria. Robert-Houdin wrote that they feared that Algerian magicians who could eat glass and apparently heal wounds would encourage the Algerians to rise up and fight the French soldiers. They wanted Robert-Houdin to perform for the Algerians, hoping to convince them that the French magician had even greater power.

R o b e r t - H o u d i n usually entertained the people who came to see his show, but this time he was supposed to frighten the Algerians in his audience. He wrote that in Algeria, he invited a very strong man up on stage and claimed that he would use his powers to make that man so weak that the man would be unable to lift this small box. Robert-Houdin wrote that he could lift it easily but the man could not because the magician had turned on the electromagnet. He said he also rigged the handle of the box with electricity, so it gave the man an electric shock which sent him running from the stage.

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Car

eer

Robert-Houdin’s career as a great magician was limited to just eleven years. But in this time his great contribution to magic brought new dimensions to the craft as his inventiveness awarded his the title “Father of Modern Magic”. His originality was aided by his vast knowledge of the intricacies of clockmaking; it was his understanding of complex mechanisms which led to his development of “Automata”. Not only would his “Automata” increase the range of tricks that could be performed, they would enhance the drama and showmanship of his magic. Being one of the first magicians to utilise electricity in his act, Robert-Houdin took magic onto a higher and more spectacular platform, setting himself apart from other magicians of his time.

In addition, Robert-Houdin brought class to Magic. When he walked on stage, he wasn’t fashioned as his contemporaries and predecessors (generally in wizard robes) but attired in evening dress. He brought charm, charisma and class to the stage. Audiences would deck themselves in their finery to enjoy his performances and with this Robert-Houdin brought the upper class family parlour atmosphere to the theatre.

Robert-Houdin’s magic, thought innovative, achieved fame through contributing to and enhancing tricks originated by his predecessors. One such trick was his “Second Sight” act. Not a characteristic mechanical propped trick, “Second Sight” involved the assistance of his son, identifying items, belonging to the audience, selected by Robert-Houdin whilst blindfolded. It was in fact another magician’s act that saw Robert-Houdin become a sensation.

1805 – 1871

To add to his credits, in 1856 Robert-Houdin prevented a rebellion in Algeria! The French seconded the magician to discredit the Marabouts, an Arab religious faction in Algeria who were using magic to incite a rebellion, and discredit them he did! He proved his illusions were more powerful than those of the Marabouts..

Robert-Houdin presented his devil fearing Arab audience with his “Light and Heavy Box”. With this box he demonstrated the illusion that he had in his power, the ability to deprive the most powerful man they could offer of all his strength. This illusion was achieved by firstly inviting him to lift the box, which he would do successfully. Robert-Houdin then placed him under a trance, explaining whilst under he would be deprived of his strength. Then, the participant was, to his horror, to discover the previously simple task was now impossible. This was actually achieved by building the box with an iron bottom, attached firmly to the spot by an electromagnet built into the stage.

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In addition, Robert-Houdin brought class to Magic. When he walked on stage, he wasn’t fashioned as his contemporaries and predecessors (generally in wizard robes) but attired in evening dress. He brought charm, charisma and class to the stage. Audiences would deck themselves in their finery to enjoy his performances and with this Robert-Houdin brought the upper class family parlour atmosphere to the theatre.

Robert-Houdin’s magic, thought innovative, achieved fame through contributing to and enhancing tricks originated by his predecessors. One such trick was his “Second Sight” act. Not a characteristic mechanical propped trick, “Second Sight” involved the assistance of his son, identifying items, belonging to the audience, selected by Robert-Houdin whilst blindfolded. It was in fact another magician’s act that saw Robert-Houdin become a sensation.

To add to his credits, in 1856 Robert-Houdin prevented a rebellion in Algeria! The French seconded the magician to discredit the Marabouts, an Arab religious faction in Algeria who were using magic to incite a rebellion, and discredit them he did! He proved his illusions were more powerful than those of the Marabouts..

Robert-Houdin presented his devil fearing Arab audience with his “Light and Heavy Box”. With this box he demonstrated the illusion that he had in his power, the ability to deprive the most powerful man they could offer of all his strength. This illusion was achieved by firstly inviting him to lift the box, which he would do successfully. Robert-Houdin then placed him under a trance, explaining whilst under he would be deprived of his strength. Then, the participant was, to his horror, to discover the previously simple task was now impossible. This was actually achieved by building the box with an iron bottom, attached firmly to the spot by an electromagnet built into the stage.

Also, for further demonstration of his unfathomable magic powers, Robert-Houdin administered electric shocks to the participant when in contact with the box’s brass handles. This trick and a selection of other amazing demonstrations of Robert-Houdin’s magical powers served to cease talks of rebellion.During his eleven years of show business notoriety, Robert-Houdin’s contribution to magic was marked by his fame, his innovation and above all, the saving of human lives.Though he left this world in 1871, his innovation, repertoire and showmanship lives on in the world’s theatres of today.

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THE MARVELOUS ORANGE TREE

O n one of Robert-

Houdin’s side table, he has an egg, a lemon, and an

orange. He soon displays what he is going to do with them. He

goes into the audience and borrows a lady’s handkerchief that was in style then. He rolls it into a ball. He rubs the ball in between his hands and

the handkerchief gets smaller and smaller until it

disappears

p a s s i n g through to the egg

on the table. Carefully he picks up the egg. The

audience expects him to crack it open and produce the spectator’s handkerchief. Instead, he makes that disappear too. He tells

the audience that the egg went to the lemon.

This is

r e p e a t e d with the lemon

and the orange. When he makes the orange

disappear, all that is left is a fine powder. This is placed into a silver vial. He soaks

this vial with alcohol and sets it on fire.

famous illusions

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A small orange

tree planted in a wooden box is brought forth by one of his assistants.

The audience

n o t i c e s that the tree is

barren of any blossoms or fruit. The blue flame from

the vial is placed underneath it. The vapors from it causes the leaves to spread and sprout orange blossoms from it.

Robert-Houdin then picks up his

m a g i c wand and waves

it. The flowers disappear and oranges bloom forth.

He plucks the oranges from the tree and tosses them to the audience to prove they are real. He does this until he only has one left. He waves his wand again

and the orange splits open into four sections

revealing a white material

of sorts inside of it. Two clockwork butterflies

appear from behind the tree. The butterflies grab the end of the corner of the white cloth and spread it open

revealing the spectator’s

h a n d ke r c h i e f .

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When Robert-Houdin first opened his theatre, it was sparsely attended. Though his inventions were good, they needed a draw that would bring the public to his little theatre. So he came upon the idea of doing a two person mindreading act. He even concocted a silly story on how his son Emile created a game of hot and cold that resulted into Robert-Houdin utilizing that for the stage

He took the title that was used by such magicians as John Henry Anderson, but the effect was entirely different. Anderson had a box into which items were inserted. The medium would then describe the contents inside. In Robert-Houdin’s version, he walked into the audience and touched items that the audience held up and his blindfolded assistant, played by his son, described each one in detail. It caused a sensation and brought the throng to see his Soirees.Eventually Robert-Houdin changed the method so instead of asking his son what was in his hands, he simply rang a bell. This stunned those that suspected a spoken code. He would even set the bell off to the side and remain silent and his son still described every object handed to his father.Robert-Houdin even made the test difficult. He placed a glass of water into his son’s hands and Emile proceeded to drink from it. He was able to perceive the taste of the liquids that spectators from the audience merely thought of. Even then the audiences weren’t entirely convinced. They tried to trip up Emile by bringing in books written in Greek. He even described odd tools like a thread counter.

SECOND SIGHTSECOND SIGHT

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When Robert-Houdin first opened his theatre, it was sparsely attended. Though his inventions were good, they needed a draw that would bring the public to his little theatre. So he came upon the idea of doing a two person mindreading act. He even concocted a silly story on how his son Emile created a game of hot and cold that resulted into Robert-Houdin utilizing that for the stage

He took the title that was used by such magicians as John Henry Anderson, but the effect was entirely different. Anderson had a box into which items were inserted. The medium would then describe the contents inside. In Robert-Houdin’s version, he walked into the audience and touched items that the audience held up and his blindfolded assistant, played by his son, described each one in detail. It caused a sensation and brought the throng to see his Soirees.Eventually Robert-Houdin changed the method so instead of asking his son what was in his hands, he simply rang a bell. This stunned those that suspected a spoken code. He would even set the bell off to the side and remain silent and his son still described every object handed to his father.Robert-Houdin even made the test difficult. He placed a glass of water into his son’s hands and Emile proceeded to drink from it. He was able to perceive the taste of the liquids that spectators from the audience merely thought of. Even then the audiences weren’t entirely convinced. They tried to trip up Emile by bringing in books written in Greek. He even described odd tools like a thread counter.

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ETH

EREA

L SU

SPEN

SIO

N

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During Robert-Houdin’s time, all of Paris was enthusiastically talking about the mysterious uses of "ether". He took advantage of this by presenting an illusion that appeared to use the pungent liquid. He told the audience that he discovered a marvelous new property of ether. “If one has a living person inhale this liquid when it is at its highest degree of concentration, the body of the patient for a few moments becomes as light as a balloon,” Robert-Houdin claimed.He proceeded to prove just that. He placed three stools on a wooden bench. His youngest son Eugène stood on the middle one. With the instructions from his father, he extended his arms. Robert-Houdin placed two canes on top of the stools and positioned them under his son’s arms.He took a vial of ether and opened. The audience smelled it wafting through the theatre. He placed the vial under his son’s nose who went limp. In reality, the vial was empty. Another son of his Emile poured real ether on a very hot iron shovel. That’s what the audience smelled.Robert-Houdin took the stool away from his son’s feet and he just hung limp as a rag. He took away one of the canes so he was dangling by one arm and carefully placed his head against his upraised hand. This was startling enough. What he did next was stunning. He lifted his boy upright in a horizontal position by his little finger. Then let go until he was suspended in mid air.[ Robert-Houdin stepped away to leave his son in that suspended state, balanced only by his right elbow and no other support.When it was apparent that the drug was wearing off, Robert-Houdin returned his son to his upright position. When he woke up, he seemed no worse for wear. Robert-Houdin built up the surprise of spectators until, “… by gradually heightening it up to the moment when, so to speak, it exploded.”This brought letters of protest against Robert-Houdin thinking he was putting his son’s health at jeopardy, although the ether had nothing to do with the trick

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major achieve-

ments

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The Arabs of Algeria were said to be excited to rebel against French colonialists by miracles performed by their religious leaders. In 1856, Napoleon III's Second French Empire sent Robert-Houdin there, hoping that he might perform tricks that were far more impressive, thereby dis-solving the excitement of the rebels. Robert-Houdin's tricks, it is said, suc-ceeded in breaking up the influence of the mullahs. Moreover, the Arabs became afraid of Robert-Houdin. In one trick, he allowed an Arab to shoot at him with a marked bullet, but instead of killing him, the bul-let was found between his teeth. After that, they believed he could do anything. Robert-Houdin was not the first illusionist to perform the bullet catch and many since him have adapted their own version of the effect.

He used another famous trick to prove that French magic was stronger than local shamanism techniques: he presented an empty box with an iron bottom that anyone could lift up. By turning on an electro-magnet hidden under the floor, he made it immovable, "proving" that through will power, he could make it impossible to lift for the strongest Algerian warriors. He found the trick was more impressive when he claimed not that he could make the trunk heavy, but when he claimed he could make the strong man too weak to lift a trunk that even a small child could lift.

Robert-Houdin is often credited as being "the father of modern mag-ic". Before him, magicians performed in marketplaces and fairs, but Robert-Houdin performed magic in theatres and private par-ties. He also chose to wear formal clothes, like those of his audi-ences. Many magicians today mimic this by wearing tail-coats, though other magicians view this as old-fashioned and believe that they should wear contemporary clothes. Doug Henning was the first to reb-el against this stereotype with a distinctive modern look of his own.

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magic politicsPerhaps most interest-ing was his use of magic to stop a simmering war. In the 1850s, the country of Algeria was rebelling. Led by the Marabouts, a religious sect with sup-posedly magical powers, they wanted the country to break its ties to France. By request of the French

bureau in Algiers, Rob-ert-Houdin was asked to prove that French magic was stronger than that of the Marabouts. Performing for the local chieftains, Robert-Houdin caused a warrior to seem-ingly lose his strength. By suggesting that the war-

rior could no longer lift a lightweight box, the warrior couldn’t. And at the end, the warrior shrieked and ran from the stage. He was secretly shocked with a jolt of electricity. The rebellion was effectively quelled. In retirement, Robert-Houdin continued to experiment with elec-tricity and mecha-nisms and wrote books.

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Something else that Houdin is remembered for, he was the first magician to eschew the heavy robes that magi-cians of the era traditional-ly wore. In his performanc-es, Robert-Houdin wore formal evening attire, which magicians wear to this day.

Another of the great illu-sions introduced to Western magic by Robert¬Houdin was his Aerial Suspension. The use of ether as an an-aesthetic agent had just been discovered (in 1842).

The magician spilled this liquid freely about the stage, and it put his suspen-sion effect into the Big Illu-sion class. A reviewer of his show in London described it thus: [Robert-Houdin’s] most impressive illusion was the “Escamotage de Robert-Houdin, fils,” with his son suspended in equilibrium by atmospheric air, through the action of concentrated Ether, which concluded by showing the boy horizon-tal in the air and appar-ently supported by noth-ing except his elbow on the top of a walking stick.

The implication was that the ether had made the boy (Émile) light, and a rather flimsy “scientific” prem-ise was thus established. This illusion was first shown by Robert-Houdin in 1848, but the idea was not origi-nal to him. In 1836 Ling Lau Lauro, a pseudo-Oriental, had been the first to in-troduce it in the Occident.

A few years earlier than that, in the city of Madras, India, an old Brahmin con-juror was reported to have done a suspension effect, but in his version he sat in the air cross-legged. The report had him using no bet-ter apparatus than a piece of plank, which, with four legs, he formed into an ob-long stool; and upon which, in a little brass socket, he placed, in a perpendicular position, a hollow bamboo, from which pro¬jected a kind of crutch, covered with a piece of common

hide. These properties he carried with him in a little bag, which was shown to those who went to see him exhibit. The servants of the house held a blanket before him, and when it was withdrawn he was dis-covered poised in the air, about four feet from the ground, in a sitting attitude, the outer edge of one hand merely touching the crutch, with the fingers deliber-ately counting beads, and the other hand and arm held up in an erect posture.

The blanket was then held up before him, and the spectators heard a gurgling noise, like that occasioned by wind escaping from a bladder or tube, and when the screen was with-drawn he was again stand-ing on the floor or ground.

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DynamoTipped as the most

exciting British magician

to emerge in decades

and with a list of

celebrity fans that

reads like a ‘who’s who’

of the Hollywood elite,

Dynamo: Magician

Impossible is the story

of an ordinary boy

from Bradford living an

extraordinary life. Like

his dear grandfather

before him, Dynamo

grew up practicing

precision card-handling

and developing

powerful magical skills.

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Dynamo

He’s seemingly come out of nowhere but Dynamo has been wowing celebs and punters alike for years with his close-up card tricks and matrix-style levitation moves. He recently walked on water across the river Thames in front of goggle-eyed tourist but that was just the tip of the iceberg - expect plenty more spectacular stunts from this hip Houdini.

The story of an ordinary boy from Bradford living an extraordinary life. Like his dear gran...dfather before him, Dynamo grew up practising precision card-handling and developing powerful magical skills. In Dynamo: Magician Impossible, his very first television series, the 28-year-old travels the globe as the unassuming anti-hero who just happens to astound everyone he meets, whether international footballer or Hollywood actor.

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“The greatest magic I’ve ever seen” Chris Martin

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He walks on water, defies gravity and makes the impossible possibleIf magic is the ability to make the impossible possible, then 26 year old Steven Frayne’s whole career has been nothing short of magical.

Growing up on one of Britain’s toughest housing estates (Delph Hill in Bradford, North East England), with a father more often in jail than out of it and a debilitating form of Crones disease, he has taken the world of magic by storm, performing for cultural icons such as Will Smith, Jay Z, Sir Paul Mcartney and Prince Charles.

In the last few years he has walked down the catwalk for Naomi Campbell’s Fashion For Relief and performed at Lewis Hamilton’s birthday, appeared as a guest on Jonathan Ross and featured on Snoop Dogg’s TV show ‘Fatherhood’, sat on the couch with Richard & Judy and been on tour with the Kings of Leon. Ian Brown wrote a song about him and Dizzee Rascal put him in a music video. He has performed live in front of a worldwide audience of 1.5 billion people on MTV’s EMA’s, been in his own Channel 4 show and currently features in a global ad campaign for Adidas alongside David Beckham.

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DynamoMagician

Impossible

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The series sees the 28-year-old travelling the globe as the unassuming anti-hero who just happens to astound everyone he meets, whether it's an international footballer or Hollywood actor.

In episode one, Dynamo performs his spectacular matrix style levitation, physically moves a girl's tan line on the glamorous Miami Beach and performs magic with Manchester rock legend Ian Brown.

Other highlights in this mind blowing series include; transporting a mobile phone into a glass beer bottle, magically transforming snow into diamonds in the Austrian mountains and bringing a flutter of butterflies to life in Hollywood's famous Chateau Marmont.

Throughout the series, Dynamo: Magician Impossible will take viewers on his magical journey before stunning them with incredible, head l i ne -g rabb i ng stunts beyond the realms of possibility

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WALKINGON

WATER

EXPLODING BOTTLE

TWIST BOTTLE

COIN THROUGHGLASS TABLE

His stunning close up magic has amazed pop stars, royalty and people on the alike but it has been his ability to transcend the magic scene that has made him the most relevant magician of his generation. Dynamo was first inspired by magic by a trip to New Orleans where he watched street hustlers, card sharks and gamblers. He knew then he wanted to be a magician when he grew up (or grew older anyway).

He practised his card tricks, mixed them with a bit of breakdancing, and started showing his skills on the northern club scene.

In 2000 Dynamo made a name on the local ‘magic scene’ by winning the Bradford Magic Circle Championships. Then in 2002 he won the Northern Magic Circle Vice President’s award and became the only UK magician to rank in the top 4 at the International Magic Convention.

Since then he’s been wowing many names from Dizzee Rascal and Ms Dynamite to Snoop Dogg and Jazzy Jeff. Party tricks include turning a £5 into a £20, getting a coin through the bottom of a beer bottle and even twisting the label on the bottle before revealing he has twisted the glass underneath. Spooky.

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careerDynamo has turned the world of magic on it’s head, amazing people across the planet from the streets of Harlem to the Cannes Film Festival, he has helped re-define the genre, inspiring countless young magicians with his blend of visual magic, card handling and ability to floor the most skeptical of audiences. His influence has transcended the magic scene and can be felt on TV commercials for brands such as Adidas and O2 and entertainment shows such as ‘Britain’s Got Talent’ where both contestants and judges have sighted him as an inspiration.Dynamo’s list of celebrity spectators reads like the ultimate Hollywood line up: Will Smith, Russell Brand, Ashton Kutcher, Diddy, Jay Z, Coldplay, Demi Moore and Paris Hilton are just a few of the names who’ve raved about Dynamo’s unique talent.His TV credits include Snoops ‘Fatherhood’, Ashton Kutcher’s ‘Katalyst Live’, Sport Relief 2010, The MTV EMA’s, Friday Night With Jonathan Ross, F1 Rocks and shows on Channel 4 and MTV Worldwide.

Simply put, the most talked about magician of a generation.

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Dynamo: Magician Impossible

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